WATCH: Roman Polanski: Wanted & Desired-Opens July 18, 2008 At A Theatre Near You...

Fritz Lang: Metropolis Rediscovered...

Last Tuesday Paula Félix-Didier traveled on a secret mission to Berlin in order to meet with three film experts. The museum director from Buenos Aires had something special in her luggage: a copy of a long version of Fritz Lang’s Metropolis, including scenes believed lost for almost 80 years. After examining the film the three experts are certain: The find from Buenos Aires is a real treasure, a worldwide sensation. Metropolis, the most important silent film in German history, can from this day on be considered to have been rediscovered.

Fritz Lang presented the original version of Metropolis in Berlin in January 1927. The film is set in the futuristic city of Metropolis, ruled by Joh Fredersen, whose workers live underground. His son falls in love with a young woman from the worker’s underworld – the conflict takes its course. At the time it was the most expensive German film ever made. It was intended to be a major offensive against Hollywood. However the film flopped with critics and audiences alike. Representatives of the American firm Paramount considerably shortened and re-edited the film. They oversimplified the plot, even cutting key scenes. The original version could only be seen in Berlin until May 1927 – from then on it was considered to have been lost forever.

Those recently viewing a restored version of the film first read the following insert: “More than a quarter of the film is believed to be lost forever.”

In 1928, Adolfo Z. Wilson, a man from Buenos Aires and head of the Terra film distribution company, arranged for a copy of the long version of “Metropolis” to be sent to Argentina to show it in cinemas there. Shortly afterwards a film critic called Manuel Peña Rodríguez came into possession of the reels and added them to his private collection. In the 1960s Peña Rodríguez sold the film reels to Argentina’s National Art Fund – clearly nobody had yet realized the value of the reels. A copy of these reels passed into the collection of the Museo del Cine (Cinema Museum) in Buenos Aires in 1992, the curatorship of which was taken over by Paula Félix-Didier in January this year. Her ex-husband, director of the film department of the Museum of Latin American Art, first entertained the decisive suspicion: He had heard from the manager of a cinema club, who years before had been surprised by how long a screening of this film had taken. Together, Paula Félix-Didier and her ex-husband took a look at the film in her archive – and discovered the missing scenes.

Among the footage that has now been discovered, according to the unanimous opinion of three experts, there are several scenes which are essential in order to understand the film: The role played by the actor Fritz Rasp in the film for instance, can finally be understood. Other scenes, such as for instance the saving of the children from the worker’s underworld, are considerably more dramatic. In brief: “Metropolis, Fritz Lang’s most famous film, can be seen through new eyes. The material believed to be lost leads to a new understanding of the Fritz Lang masterpiece.

-ZEITmagazin (Zeit.de, 7.2.2008. Image: -Jósef Bottlik, "Metropolis," UFA poster, designed for film's release in Hungary, Berlin, 1927).

HISTORY: Celebrity Body Snatching: Charlie Chaplin's Stolen Body Found...

"The coffin containing the body of Charlie Chaplin - missing since his grave was robbed 11 weeks ago - has been found. It was dug up from a field about a mile away from the Chaplin home in Corsier near Lausanne, Switzerland. The legendary comedian died on Christmas Day last year, aged 88. He was buried two days later in the village of Corsier in the hills above Lake Geneva.

"Charlie would have thought it ridiculous."
-Lady Oona Chaplin

Swiss police have arrested two men - a Pole aged 24 and a Bulgarian aged 38 - and say they have confessed to stealing the coffin and reburying it. Names of the accused have not been released, but police say they are both motor mechanics. They were traced after police kept a watch on 200 phone kiosks and tapped the Chaplins' phone after the family received ransom demands of £400,000 for return of the body after it went missing in March. Sir Charles' 51-year-old widow, Lady Oona Chaplin, refused to pay up saying: "Charlie would have thought it ridiculous." In further calls the kidnappers made threats to harm her two youngest children.

The family kept silent about the ransom demands and various rumours circulated about the missing coffin. One Hollywood report suggested it had been dug up because Sir Charles was a Jew buried in a gentile cemetery. Lady Chaplin, daughter of playwright Eugene O'Neill inherited about £12m after the death of her husband. The couple and their eight children have been living in Lausanne since 1952. A spokesman for the Chaplins said: "The family is very happy and relieved that this ordeal is over." Superintendent Gabriel Cettou, the head of the Geneva police, said the two men would be charged with attempted extortion and disturbing the peace of the dead.

-BBC News (On This Day, 5.17.1978. Image: Charlie Chaplin's Exhumed Coffin, 1978).

Percy & Denham: "Why Does God Always Take Pity On The Wicked?"

"Louisa Creed: I hate the dark. It frightens me.

Sister Theresa: It shouldn't, my dear. Don't you believe we're watched over?

Louisa Creed: Oh yes. But I'm never quite sure who's watching us.

Ellen Creed: Hell is like the kingdom of Heaven. It's within."

- Edward Percy & Reginald Denham, (LADIES IN RETIREMENT,1941). "Based on a famous murder case which took place at the end of the last century, this play has become one of the most successful and most frequently performed in the modern repertoire. An eerie atmosphere of mystery is evoked in a dark, lonely house on the marshes of the Thames estuary. The characters, presented with great psychological realism and the strong vein of earthy comedy invest the play with a liveliness unusual for such a genuinely horrifying murder play.

Adapted for the screen in 1941, directed by Charles Vidor (King's brother) and starring Ida Lupino, the New York Times described the film as “an exercise in slowly accumulating terror,” This comes mainly from George Barnes’s moody camerawork and the solid acting of the principal cast. Top honors go to Ida Lupino, a bold and strong-minded actress who became a prolific film and TV director in her own right starting in the late 1940s. Although in the stage version Ellen was sixty years old, Vidor gambled that 23-year old Lupino could look 40 with the right makeup and strong lighting to wash the softness from her face. It worked. Lupino seems almost ageless in the part, playing Ellen as a tightly coiled bundle of nerves, seething with determination beneath her generally calm appearance."-by Mikita Brottman and David Sterritt (Turner Classic Movies Review). Image: Ida Lupino, Publicity Shot, 1940s.

Gods & Masters: If Greatness Existed...Again

"Something happened in 2007, something ended. Old gods stumbled and fell. New ones sprang up. But they sprang up in their thousands. That’s the point these days.

Technology, hype and the sheer profligacy of the arts when confronted with a large, hungry and wealthy audience have created a climate of excess — just too many artists, too much money, too many works and too much noise. Who knows who, now, is great? Even if greatness existed, how would we find it? Do we want greatness, or would we simply prefer choice?

The further, more troubling question is, what is greatness? The climate of excess is also a climate of uncertainty and tribal dispute. When Ingmar Bergman died, many said he was just a solemn old bore — a startling, almost unbelievable dismissal of one of cinema’s greatest artists. As with leaders of the Lib Dems, in the arts, when you’re out, you’re out. And artists are being pushed in and out all the time by a cultural hype industry that has increasingly infected the ranks of what should be the independent-minded. The carefully cultivated “buzz” about some artists can be so effective that I — like, I am sure, you — actually find myself questioning my own intuitions or, in extreme cases, sanity. And the “buzz” feeds on change, novelty. The very idea of an old master, an artist who endures and grows, is rapidly becoming incomprehensible."

-Bryan Appleyard (EXCERPT:"Twilight of the Greats", The Times UK, 12.30.07, Image: Pablo Picasso)

Hitchcock: We All Go A Little Mad Sometimes...

"Norman Bates: She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you?

Marion Crane: Yes. Sometimes just one time can be enough.

Norman Bates: You know what I think? I think that we're all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch.

Marion Crane: Sometimes, we deliberately step into those traps.

Norman Bates: I was born into mine. I don't mind it anymore.

Marion Crane: Oh, but you should. You should mind it.

Norman Bates: Oh, I do

Norman Bates: but I say I don't."

********************************************************

"Norman Bates: Mother! Oh God, Mother! Blood! Blood!"

-Joseph Stefano (PSYCHO, 1960)

"Of all his movies, Hitchcock took the most pride in Psycho, because with this one he was able to create a blockbuster through what he called,"pure film". Made for a cheap-even-at-the-time 800K, Psycho somehow keeps the audience tagging along despite its dearth of likable characters, its homely and oddly shaped story, and its lack of A-list sheen that typified the films Hitchcock had make with Grace Kelly, Cary Grant and Ingrid Bergman. For once the star of the show was Hitchcock himself. "I feel it's tremendously satisfying for us to be able to use the cinematic art to achieve something of a mass emotion." It wasn't a message that stirred the audiences, nor was it a great performance...They were aroused by pure film...It's the kind of picture where the camera takes over. Like Edgar Allan Poe, whom he revered as a young man, Hitchcock gave ordered shape to the thick mental glop of his own neurosis and obsessions."

-Jim Windolf (EXCERPT: Vanity Fair, March 2008)

Naomi Klein's Shock Doctrine: On The Rise of Disaster Capitalism

"Only in crisis...actual or perceived produces real change."

-Milton Friedman (The 20th Century's most prominent economist advocate of free markets. He was widely regarded as the leader of the Chicago School of monetary economics, which stresses the importance of the quantity of money as an instrument of government policy and as a determinant of business cycles and inflation. Recipient of Nobel Memorial Prize for Economic Science, 1976, Recipient of the Presidential Medal of Freedom, 1988).

WATCH HERE:

The Shock Doctrine Short Film (2007)

Running Time: (7 min.)

In THE SHOCK DOCTRINE, Naomi Klein explodes the myth that the global free market triumphed democratically. Exposing the thinking, the money trail and the puppet strings behind the world-changing crises and wars of the last four decades, The Shock Doctrine is the gripping story of how America’s “free market” policies have come to dominate the world-- through the exploitation of disaster-shocked people and countries.

FACTS:

Chile, 1973:
50,000 tortured
80,000 imprisoned
Public spending cut by 50%
Incomes for the rich up 83%
45% of population in poverty

Wars – Falklands War, 1982:
910 people die
Thatcher's popularity doubles
She privatizes gas, steel, airlines, telephones
She declares war on unions
Thousands are injured
Unemployment triples
Number of poor increases by 100%

Massacres:
China 1989 – hundreds killed
Thousands jailed and tortured
China becomes sweatshop to the world
China embraces "free market" capitalism
Factory wages: $1/day

Russia, 1993:
Yeltsin attacks parliament
Hundreds killed
Parliament burned
Opposition arrested
72 million impoverished
17 new billionaires created

Terrorist Attacks – New York, 2001:
Attacks launch "War on Terror." It is privatized.
US spy agencies outsource 70% of their budgets
Pentagon increases budget for contractors by $137 billion/year
Department of Homeland Security spends $130 billion on private contractors

Invasions – Iraq, 2003:
The most privatized war in modern history
US decrees 200 state companies will be privatized
Hundreds of thousands killed
4 million displaced

Natural Disasters – Sri Lanka, 2004:
35,000 dead
Coastline handed over to hotels and industry
Nearly 1 million displaced
Fishing people forbidden to rebuild homes by the sea

-A Film by Alfonso Cuaron & Naomi Klein.  Directed by Jonas Cuaron (2007). Based on Klein's bestselling book: "Shock Doctrine: The Rise of Disaster Capitalism"

Hollywood: When Is Film Art? When Genius Meets Insanity

"As chronicled in Peter Biskind's book Easy Riders, Raging Bulls, the lunatics were running the Hollywood asylum of the '60s and early '70s. The noun "auteur" was actually bestowed on American filmmakers like Robert Downey Sr. (the father of Junior), Hal Ashby, Arthur Penn, Jerry Schatzberg, Paul Mazursky, Francis Ford Coppola, Martin Scorsese and the great Kubrick. For my taste, the finest film of the era was 1969's Midnight Cowboy, directed by John Schlesinger, a Brit working in the U.S. The buddy story of male hustler Joe Buck and street grifter Ratso Rizzo was the ultimate example of anti-heroicism and we were all anti-heroes. We recognized that life is not a Hollywood movie in which the leading man gets the dame and all is wrapped up neatly with a bow on top. We saw that "decent" men gave us Vietnam and war crimes and that those in the lower rungs of the class system often embodied real decency, potentially more so than the clean stereotypes Hollywood had previously foisted on the marks.

These epiphanies were not the result of mere agit-prop by the filmmakers. They experimented, engaged in flashbacks and dreams, broke the fourth wall. THEY DID NOT FOLLOW THE RULES. All great art is created by artists who break the rules and allow their imagination free reign.

Then one day we woke up: Reagan was president and films were movies again. There are exceptions (the fab Coen Brothers), but even most of the exceptions lack the ferocity and vision of a Roeg. Spielberg and Lucas spewed out childish and manipulative crap for a dumbed-down and subdued nation. What had been a B-movie in terms of story was now the blockbuster. It was morning in America again and we were in mourning. As for Hollywood, there are many reasons for this descent into mediocrity. Beyond the country turning hard-right, accountants and agents had replaced eccentric, dope-addled businessmen who, while not exactly Abbie Hoffmans, were nonetheless willing to take risks.

Again, all great artists take risks. Jean-Luc Godard once said, "The politics of a film is the budget of a film." Where the lunatics once ran the asylum, the bureaucrats were now back in control.

To paraphrase something Coppola noted years ago, the great hope of film-as-art remains with a fourteen-year old girl holding a cheap digital video camera. She won't have to answer to accountants and her personal vision will be available for download on the Internet. The artist will prevail.

When is film art? When artists -- not compromised and spineless yuppies -- make films. They're out there, but chances are you won't find them if you're sitting through twenty-three coming attractions and eleven commercials."

-Michael Simmons (EXCERPT: Huffington Post: "When Is Film Art?" 3.12.08)